Sad Gnome Records existed from 2006 to 2010, releasing six vinyl 7" records, three CDs, a bunch of downloads, two badges and a t-shirt.A few are still available; for details, and for other enquiries, please email sadgnome@gmail.com.

Sad Gnome's final release, and Remodel's third. 'La Belle Dame Sans Merci' saw the band continuing to carve out their own sound, with a left field take on pop in a characteristically British manner, sneaking out slivers of punk’s pop whims while maintaining the distinctive sound that they have been forging since their previous releases.

Remodel have an effortlessly glossy indie sound with a hint of nostalgic 90's Britpop. 'La Belle Dame Sans Merci' has infectious hooks, a great sing-a-long chorus and an opening the blows you off your feet if you're not expecting it. 'Us And Them' put them in a slightly different light. Heavily influenced by the Blockheads, you keep wanting to refer to them as scamps or rascals, for no justifiable reason. It's catchy, danceable and... rascalish. (See what I mean) One for anyone who got to hear The Metros recently.Chris Bound, Substock

Remodel release their third single on limited edition 7” single (yay for vinyl!) and after a bit of a false start it turns out to be just as good as British Racing Green and Formula. I say that because the first 30 seconds seem a little laboured for me and the vocals seem a little too restrained, i’m about to start feeling disappointed about this release when everything suddenly kicks into gear and the tempo is lifted into a more melodic new wave track than previous releases.
On the b-side tucked away quietly is the equally good Us And Them, it’s got a bit more pace and balls about it than La Belle Dame Sans Merci, but maybe not the same classy sophistication. Two good tracks though and full steam ahead for the next release…keep ‘em coming!Kevin Trotter, The Beat Surrender [link]

Here in the basement of the well oiled ‘look I put it there I swear’ filing operations at the heart of the losing today tree house with turntable headquarters we’ve been mightily perplexed these last 10 minutes for not only have we managed to lose the press release to this CD came wrapped in but we’ve also mislaid the sleeve that housed in and the obliging sticker which we advised the band to attach onto said disc advising us to ’drop everything and play immediately’ - and yes I know there’s a highly hilarious Carry On joke somewhere in there but I’ll be buggered if I’m going to succumb to it. Anyhow latest offering from those nice people over at Sad Gnome records of whom it should be said whose depicted ‘label’ Gnome isn’t so much sad looking but quite possibly suicidal - poor fella have stumped up another corker to follow hot-ish on the heels of outings from the likes of My Name is Red and Marianne Nowottny in the shape of Remodels (I think) third single. ’la belle dame sans merci’ is roughly translated as ‘the beautiful lady without pity’ and not alas as ’bog off thank you’ which was the resulting option prized and offered up by google’s impish language tools add on. Between you and me it has more than a passing hint of Gene sparring with a mid career Six by Seven about its wares which is no bad thing, the sly and subtle corkscrewing riffs accentuated by a nagging lazy eyed drag and set off with something emotionally torn, forlorn and simmering with a kind off centre tension wherein you expect it to fire and unravel any second soon - sadly it never quite achieves such though that said there is a neat Neil Young moment at three minutes in which frankly does more than enough to save it and make it alone worthy enough of the entrance fee. That said in sharp contrast and it should be said for us the far superior of the brace is ‘us and them’ - more animated and teeth bared in both terms of dynamic and delivery, the acutely snaring riff jabs, the call / response interchanges between the lead vocal and the backing harmonies, the stop / start time signature shifts and the elementary whiff of something impatient endow it with a knowing hint that would suggest the feint agitant demeanour of the Fatima Mansions brooding just below the surface, though scratch a little deeper and the tensely wound and sharpened angular pop drills are found more appropriately nodding in the general direction of a late 70’s era Stranglers.Mark Barton, losingtoday.com [link]

London nu wavers Remodel look great. In their suits and skinny ties they look like a jumble sale Jam or Franz Ferdinand at Oxfam. One day all bands will look like Remodel, and if they don't the bloody well should.
The band's sound is as sharp as the lapels on their suits and will appeal to fans of classic Brit pop.
On the band's new single 'La belle dame sans merci', released earlier this month on Sad Gnome Records, lead singer Leigh Swinn's sonorous crooning sounds like he's had a larynx transplant with Gene's Martin Rossiter as the donor, while behind him the band cook up a traditional English mixed grill of , The Who and The Jam. The b-side (isn't this really redundant in these digital days?) 'Us and Them' and 'Cognoscenti' , the track provided for download below, are altogether spikier, like refugees from the Roxy in 1978 shacking up with the The Kaiser Chiefs.
They're remodel and they're sounding good.Paul Kerr, The Devil Has The Best Tuna [link]

Marianne Nowottny & The All American Band

All Over The World [video]
Ain't Gonna Be PrettyMr. So & So (German version)
Love Is Just A Dream

And so to the precocious talent of New Jersey musician Marianne Nowottny and her All American Band. Nowottny has been high on the radar of the avant garde pop scene since her debut full length ’Afraid of me’ caught everyone on the back foot with their pants around their ankles. Several years on and several full lengths down the line - all of which we are unimpressed with ourselves to report have passed us by, London / Oslo imprint Sad Gnome (home of My Name is Red, Remodel, the Ne’er do Wells et al…) have teamed up with New Jersey imprint Abaton Book Company (home of Ms Nowottny) for this European outing. Comprising four tracks Nowottny and Co are like a bolt out of the blue, admittedly last time we heard a record this cleverly dippy and crookedly ablaze with an unhinged though crafted pop sensibility was the Knife’s debut full length. Non more so is this the case than on the breathlessly chilled ‘ain’t gonna be pretty’ - in our view the sets best moment with its shimmying waves of celestial chorus’ and lilting streamlined and cruise like lunatic cycles. There’s no doubting that Ms Nowottny finds ease in balancing her sophisticated brand of coalescing electro funk drilled r’n’b with any manner of melodic genre bending she cares to apply to her aural collages, each of these four cuts slyly reveal the differing sides to her creative persona though obviously very much moulded with a strict purist pop sensibility. The opening cut ‘all over the world’ is unfailing in its attraction as it softly evolves and metamorphs seductively to lily hop between trippy daydream hazes of crooked calypso corteges pepper corned subtly with 80’s string motifs into a softly stirring shanty like beauty that’s both exotic and inebriated recalling at times the debut outings from Toshack Highway. Delivered in German and apparently radically rewired ’Mr So & So’ initially featured on an earlier full length, here given a freakish and skittish electro funk workout very much recalling to mind Nina Hagen and the early career flip sides of Propaganda albeit as though shimmying up to Yello. Wrapping up the set ’love is just a dream’ initially starts out decidedly fractured and wiringly ominous before managing to surface to morph sweetly into a smoking babe that draws its essence from the celebrated electro clash end of the musical spectrum - think of a sultry styled Cobra Killer with disco boots on. We need to hear more do ya hear…Mark Barton, losingtoday.com [link]

Coming over like The Knife hijacked by the Moldy Peaches and stored in a dank disco cellar with Stephin Merritt, this EP boasts four avant-pop nuggets as daringly original as anything else I’ve heard this year. Nowottny has shifted her difficult harridan like dirges for voice and keys into a micro-universe populated by frenetic fuzzed-up frolics, toy town electronics and devilishly delectable vocals. Closing number, Love Is Just A Dream, is Blondie’s Atomic for every librarian and ragged trousered philanthropist who never had the chance to say “I love you”. This is what that last Magnetic Fields album shoulda sounded like.Spencer Grady, Record Collector #355 [link]

Known to some as 'the lost star of Antifolk', so get thee to thy shopping basket lest the little chap putting it out chows down on a toadstool, or something.
Jesse Darlin': Rollicking, much?
kicking_k: It's like we're right there with her. No alienating studio trickery here. I like the assemblage of sounds which serves as a backing band. Steel drums, whistle, that rattly percussion thing...
Jesse: A groove, though. Somewhat bizarrely.
Ringo P Stacey: This is music made of crinoline.
David McNamee: I have some affection for her being in the first ever issue of the first magazine that eventually became the magazine we're writing for now.
Jesse: It's a bit flat though, in places? I know that's a total no-no, to criticise anti-folkers for singing flat. But still.
Kick: Like she only just realised she was about to be recorded, or she's doing if for the first time. She WORKED for that flatness.
David: If I wasn't listening to this for the first time, I'd either really love or hate it. But right now I don't know which it would be. It's making me thing of Mario Kart, abstractly.
Jesse: Louis says "it's like when someone's won and everyone's celebrating."
Kick: The nostalgia of the race replay. Is there any more potent modern emotion?
David: As a metaphor for love? I don't know.The Singles Club, Plan B Magazine #38 [link](Single of the month - kicking_k)

Debut release by the new trio led by this former teen terror, now ten years into her trajectory. The group is Mark Dagley (of the Girls and Hi Sherriffs fame) and Sterling Krusing of Flaming Fire. As with most of Marianne's work, this teeters between weirdness and 'mershness with extreme unction, Her voice remains breathily appealing, but the look and sound of this makes me think of an earlier generation of oddball female vocalists.Byron Coley, The Wire #297 [link]

The Ne'er-Do-Wells formed in 2005 as the propaganda wing of The Inactivist International, a revolutionary movement founded on the principle of “doing nothing for a change”. With a primitive understanding of their instruments, the three members of The Ne’er-Do-Wells made minimal brutalist punk advocating masturbation, unemployment, and sharp-dressing.

'The Accidental Death Of An Inactivist' was released and launched on May 10th 2008, the final day of the band's existence.

Remodel are a band that I had not, until the CD landed on my doorstep that is, come across and are a four piece, London based post-punk pop outfit. They have a excellent energetic style that gives there sound that little something to stand out above the others!
Formula is a fast paced, energetic number that has been masterfully put together with some retro styling’s, it has hints of 60’s pop in there too which gives it a very unique sound. This is certainly a track that you’d be happy to hear come on in a club as it would get everyone going!
Cognoscenti is another faced paced number, this track displays a urgency to their music along with some guitar playing that if it wasn’t for the rest of the band playing a singing you would swear it was a guitar solo. When you listen to this track you can hear the urgency in the lyrics and playing makes a fuller and more wholesome sound that relates back to there punk rock routes.
A Fabulous display of musical talent, releasing more of this these guys are sure to make a splash in the musical pond!Paul Richards, Noize Makes Enemies [link]

Remodel are a Shropshire born band who are now residing in London and from listening to thiks double a-side offering they have every chance of making it in the big smoke and beyond.
Both Formula and Cognoscenti are written in the best traditions of British punk, vitriolic, pacey and with a real edge to them, musically it’s probably nearer to new-wave than punk and the lead singer (Leigh Swinn) has a touch of the Joe Strummer in his vocals, which is no bad thing.
It’s a promising release from a band that are well worth keeping an eye out for, especially if they are playing live as I imagine they put on a good show.Kev, The Beat Surrender [link]

Lily Rae | Bad Film

Bad Film
Scallywag

'Bad Film' was a tenderly brash slice of acoustic alt-pop, displaying the lyrical precision, full-throated delivery and raw songwriting talent of South London's Lily Rae. B-side, 'Scallywag'  penned when she was just thirteen  employed kitten sounds and a recorder solo to create a gleefuly honest and insistently catchy acoustic guitar track.

Brighton's My Name Is Red impressed us with their camp and cocksure swagger, self destructive streak, and an addiction to awkward love songs. 'Alice Won’t You Lay With Me?' was a pulsating anti-ballad, an ode to the savagery of lust; hypnotic, subversive and with an infectious pop chorus; a textbook study in passive aggression and an electro-rock anthem.

Those with fairly reasonable memories may well recall that we briefly gave this lot a mention via Missive 131 when we inadvertently (and I’ll hasten to add with much joy) tripped upon the Sad Gnome record label. ‘Alice’ is the Brighton based ensembles debut release, an infectious honey that initially sounds like some best forgotten mid 80’s rock anthem brought in from the cold re-twiddled, re-sprayed and given a cutting edge chassis refit. Not a million miles in terms of stylising as the immense Suzerain, the ultra sexy pulse pounding ‘Alice’ is tensely wrapped and wired with punctuated lust ridden rhythms bedded upon slickly seductive showers of synthesised whirlpools - not your happy go lucky love song for My name is red - no sir - this is your full on crawling up the walls in desperation trying to score a seedy fix all metered out to a melody pierced through with restless upping the ante strut like splintering ravaged riffs that consume you whole and cocoon you into an inescapable trap of claustrophobic desire. Flipside features ‘the sun has got its hat on’ and before you ask - no not the chirpy little bugger from yore but instead a loosely detached and unhinged wig flipper of sorts that initially starts out like some rapidly unravelling from the inside slacker like moocher before momentarily bypassing through a trip like techno montage only to re-emerge from the other side as a viciously lacerating non nonsense foot to pedal blistering boogie mainlining on the riff from ‘(I’m not your) Steppin’ stone’. Essential stuff.Mark Barton, losingtoday.com [link]

This infectious and original debut single from the Brighton-based four-piece, My Name Is Red, combines strong, dramatic vocals with a big, stirring instrumental sound. If you like the Killers or Bloc Party, you’ll probably like this. There’s a similar thumping urgency to it  the sort of sound that hooks you in and makes you want to go and see what it sounds like live. At the same time, there’s enough quirky individuality here for the band to avoid the charge of being just another clone.Ros James, The Music Magazine

Alice is the debut release from My Name Is Red, a Brighton-based electro-rock group. It begins in a really atmospheric, slightly eerie way, and the bass line fits in flawlessly, giving the track an incredibly passionate feel. The first verse threw me a little  the bassline and vocals were really syncopated  but once the first chorus gets going, the song really picks up, albeit in a slightly clichéd indie-rock way. The middle of the song hits a great high  the lyrics are anguished and powerful, which really allows Chris Hodges to make the most of his amazing voice. He has an incredible ability to show emotion, which really got me in the mood of the song. The heavy bass, drums, and wailing electro lead create the perfect backing to this aggressive, spine-tinglingly effective electro-rock anthem.Olivia Alter, Oxide Radio

‘Alice Won’t You Lay With Me’ is one of those songs that make you doubt, if not your own sanity, then at least your sense of time and place. Goth, electro and glam metal collide in a hail of sparks, on a dance floor somewhere in the bowels of the bands home town of Brighton, for an epic and colossal track that, in terms of structure and influence, would seem peerless in the current musical environment. Forget Nu-rave, this is something else entirely.
Imagine Sisters of Mercy, Underworld and Twisted Sister joining forces to write the theme tune for the next Bond film and you might be somewhere close to approaching how this sounds. A monstrous pop noise it might be, but Chris Hodges voice still manages to tower above the chaos, belting out the chorus with enough passion and verve to fill the new Wembley. Could they be stadium bound? Should the listening public manage to get their heads around such a gloriously twisted cacophony, who knows?Richard Stokoe, losingtoday.com [link]

Joe Rybicki | Girl No Trouble

Girl No Trouble
Rosie

Pop good and proper in its melodies and subject matter, yet unconventional in its format; Joe Rybicki's debut was a kind of 'concept single', the CD's two tracks set at opposite ends of the same love affair, with both phases bringing their own, distinctly different, yet equally inevitable frustrations.

Here's a pleasant little debut single from this singer/songwriter from London. The title track is an upbeat pop tune that kind of reminds me of Aztec Camera with the strummy acoustic guitar and electric melodies, while the soft keyboard running underneath sounds like something from a Honeybunch song. On the b-side is "Rosie", which uses just acoustic guitar and mandolin, and is musically more similar to Billy Bragg. If I'm reading the liner notes correctly, it seems that both songs are about the same failed relationship; the first song has Joe meeting her, while the other finds the relationship coming to an end. A fine introduction to this fellow's music, and I'd love to hear some more some time...Chris McFarlane, IndiePages [link]

Sad Gnome's second signing was London-based Remodel, debuting with a double A-side demonstrating two sides of their split personality. 'British Racing Green' was a tribute to, and celebration of 1950/60’s motor racing, while 'That Obscure Subject Called Desire' came across as a bizarre ode to the illicit sexual deviation of ones’ friends and acquaintances.

They've come a long way since I first saw them many moons ago. London based Remodels debut single was recently released on Sad Gnome Records. It features a tune that is almost their signature tune 'British Racing Green' and 'That Obscure Subject Called Desire'.
The first track opens up with a deep baseline that slowly progresses with drum and guitar. It's a delightfully punchy sound that is complimented by crisp clear vocals (provided by Leigh Swinn). The level of the vocal in this number would be best compared to The Rakes. With catchy lyrics discussing the delights of getting away from it all in a British Racing Green car! It then builds up to a frantic finish with a frenetic drumbeat and racing guitars. A fine example of Indie music on offer by Remodel.
The second A-side shows the diversity of the band with a different sound that reminds me more of northeastern bands. This however does not mean it differs in the punchy sound that 'British Racing Green' does. With slick lyrics and a catchy guitar riff its one that's been on my favourite play list recently.
I was really impressed by this and despite receiving the vinyl free I popped on to Itunes and purchased the mp3's of the songs. Well worth a listen (check out their myspace) and bob on to itunes to listen to and perhaps purchase a fine piece of Indie pop.Dom Chalk

I typically don't fall for the double A-sided single concept - singles are naturally meant to have an A-side and a b-side (and whether the band contributes a solid song or a throwaway on the b-side is up to them). This record is one of many double A-sided singles I've seen, but they actually provided an alternate sleeve design for each side, so I guess that were it not for the A/AA markings on the record's label, either side is worthy to be considered the lead track. The music itself is mod-inspired pop in the vein of Sportique and the Higher Elevations, with a pair of energetic and catchy songs. I don't know much else about this London band - most importantly, how I can hear more from them), but I'd certainly love to!Chris McFarlane, IndiePages [link]

The Indelicates | The Last Significant Statement To Be Made In Rock'n'Roll

The Last Significant Statement To Be Made In Rock'n'Roll
Sixteen
HeroinUnity Mitford (Acoustic)
Stars (Live)
The Last Significant Remix

Released to coincide with The Indelicates' first tour of Germany and Austria in February 2007. Affectionately known as 'The German EP'.

'The Last Significant Statement To Be Made In Rock 'n' Roll' kicks off with a menacing riff and turns into a tirade against the lack of real passion in music. It's not as gobsmacking as their last single 'We Hate The Kids' but then again it's a much more lyrically subtle beast. The words of 'Sixteen' continue in a similar vein of dissatisfaction but this time they’re soundtracked by sparkling Pop with an addictive handclap break. It's a more direct assault against cynical bands who aim their music at the lucrative teen market. 'Heroin' is an ironic look at the falsely glamorous image Heroin has in the music world. It's a piano lament, with some of the best rhymes ever, like "She's not dirty, she's past thirty".
The last three songs are sort of bonus tracks, one acoustic, one live and one remix. 'Unity Mitford' was an associate of Hitler and the mother of Mosley's wife. 'Stars' is a song about the transience of life with the kind of Guitar noodling not heard since Queen's heyday. Lastly, 'The Last Significant Remix' is a deep remix in the style of mid-period Prodigy.Stop Me If You Think You’ve Heard This One Before [link]

The Indelicates are the perfect example of magnificent ridiculousness; the perfect epitome of the love/hate nature of Pop. They write songs that delight in throwing daggers at the music industry whilst clearly revelling in the seedy, decrepit glamour of it all. The Indelicates are pure Pop Art Terrorism; the sound of a group fully aware of the inescapable fundamental hypocrisy of their situation but battling on regardless because there is no other way. There is no option. They know the history lessons inside out, throw all the right references into the pot, and hold pistols to their collective heads. They have the sense to call their debut single ‘We Hate The Kids’ and their second ‘The Last Significant Statement To Be Made In Rock'n'Roll’. Simultaneously celebrating and damning hate, cynicism, glamour, art, sex and the politics of the terminally teenage, The Indelicates throw down the gauntlet, knowing full well there will always be someone there to pick it up and a million others to blithely trample it to ashes. The Last Significant Statement To Be Made In Rock'n'Roll? Of course, of course. Until the next last one, at least. We wouldn’t have it any other way.Alistair Fitchett, Tangents [link]

You can express disillusion with the way pop is eating itself in two ways: a fuck-you-and-turn-the-amps-to-11 nihilism or a smart dissection of the problem using words like stanley knives. The Indelicates opt for the latter: whether it’s ripping apart the music scene in the title track (“everything that follows is a footnote”) or the attraction of drugs in ‘Heroin’ (“not the bad heroin/ the good heroin, that rock stars take”), their lyrics are clever and barbed. And they can rock too; ‘The Last Significant Statement…’ smacks you in the napper with its anthemic pop while ‘Sixteen’ has an amazing powerpop chorus. They’ve got a tendency to the epic: there are plenty of Queen or even Meatloaf moments but the arrangements are grounded by clever wordplay, or vice versa: ‘Stars’ starts as a twinkly ballad but is instantly subverted by Julia’s opening couplet: “I’m in love with the boy next door/ he treats me like a filthy whore”. As artpop goes, it’s damn fine stuff and the title is a contender for best title ever.Ged M, SoundsXP [link]

Sad Gnome's first release, and The Indelicates' debut single. A coruscating, literate and angry song  the single typified The Indelicates' approach to making modern pop music. It was backed on the B-side by ’Burn All The Photographs’, a vitriolic essay on the immorality of documentary photography.

Of course for many the Pipettes will always have been the line up of Rose, Riot Becky and Gwenno, but for some there remain thoughts of Julia and a wonder for what she did next Well, the answer arrives in the shape of a spectacular 7” on the Sad Gnome label. With a cover that will surely irritate as many as it will delight in its obvious use of shock value imagery, the single itself is equally antagonistic and perfectly confrontational. For The Indelicates’ ‘We Hate The Kids’ is the kind of ready-made classic that groups must dream of writing. It perfectly captures the hypocritical nature of the music industry, damning the very roots of the system whilst simultaneously being desperate to belong. I love it to bits, not least because it has the guts and the wit to shamelessly reference Pulp’s ‘Common People’, itself surely one of the finest slabs of piercing irony that cloaked acidic spite behind an addictive sing-along anthem. ‘We Hate The Kids’ is every bit as good, though sadly unlikely to grace the charts or enter the collective psyche. But that’s the collective psyche’s loss. Lyrically it is as sublime as you could want and if I resist quoting at length here that’s mainly because it would be hard to know where to start, or stop. If you trawl the Net you’ll probably come across a sparser mix (that I actually prefer to the ‘finished’ version) and a fabulous Hard Trance remix that is as cheesy as it is brilliant, and reminds me of the awesomely vitriolic ‘Summer Of Hate’ by Baxendale. Who remembers that? And in fact the Baxendale reference crops up again with the Indelicates ace ‘Julia We Don’t Live In The ’60s’, whilst the widely downloaded ‘Waiting For Pete Doherty To Die’ is as classy and cutting an expose of the music industry as the single and is another utterly essential addition to your collection. Snap up a couple of copies pronto, for future eBay action surely awaits.Alistair Fitchett, Tangents [link]

I'm not going to mention the novelty band that this band spring from, because whilst every pop fan in every so called indie club dance to them, something much more original and exciting is happening. This single does for the indie scene what Hunter Thompson did for Aspen Colorado. It's the hidden gem that they are just a bit scared of because not only is it better than what they sell, it attacks the masses so beautifully and subtly that they probably wouldn't even see it, which I think is the point. From the male vocal at the start to the female vocal and the line, "I wanted to subscribe to a higher path, but there is no higher path" and the classic "Absolutely anyone can play the fucking guitar". It is memorable, melodic, it's the truth and it will upset exactly the people it is supposed to, but they won't ever admit that. (4/5)Jimmy Savage, God Is In The TV

Sad Gnome Records' first release is a little star, burning in the darkly brooding undertone of youth and loss. Quite simply, it's gorgeous. The lo-fi sound is a slight hinderance, but the flitters of twee and lamenting vocals punctuate the soul of this insatiably melodic, down beat offering. As the title suggests, it's lyrically a bit of a moan about young people in the modern world. Yet, the music behind the vocals is a bizarrely successful, twee-painted Joy Division-esque sound. The driving melody will filter through your ears and stay in your head; the song on the whole will penetrate your skin and live in your heart. An encouraging start, then, for Sad Gnome. (9/10)Edward, PowPowPow

There just isn't another band like The Indelicates around at the moment, a fact that we should both mourn and celebrate. there is a wonderful narrative element to these songs, like being tucked up in bed and having a story read to you. 'We Hate The Kids' is their debut single and is a coruscating, literate and angry song where the female / male vocal interplay brings to mind the Shane Macgowan / Kirsty Maccoll dynamic of 'Fairytale Of New York'. The song is a glorious lo-fi anthem that's like a mix of Pulp, Black Box Recorder and Belle And Sebastian.Rough Trade

The Indelicates have just released their debut single 'We Hate The Kids', a cynical social commentary of sorts which probably wouldn't look out of place on an episode of Grumpy Old Men. I'm not sure why they nick the "dance to the radio" bit out of Joy Division's 'Transmission' but we can ignore that in lieu of the nasty wit and the lovely apt ending - "no more music, thank you and goodnight". B-side 'Burn All The Photographs' is a haunting affair with theatrical piano and particularly piercing vocals. Think Phantom Of The Opera meets the Reichstag fire of 1933 in Nazi Germany.Mr. K, Keep Hope Inside [link]

'We Hate The Kids' is The Indelicates' attempt to write no less than an anthem for our times. They cast their eyes over the state of Popular music and find it sadly lacking. It's a song for a time where Simon Cowell unashamedly reduces Pop to a pure commodity, a time where things like passion, depth and integrity are entirely expendable. It slowly builds to the point of bursting while Simon and Julia spit out lines steeped in venom. I would say they have succeeded, this is the definition of an anthem.Stop Me If You Think You’ve Heard This One Before [link]

Lily Rae | I Like Christmas
Space Peacocks | Captain Of The Starship
Remodel | Small Town
Marianne Nowottny | Jesus In A Jiffy
My Name Is Red | If I Had One Bullet
Keith TOTP | Try Your Best
The Sad Gnome Song

'A Sad Gnome's Dream' was a free, limited edition, download only compilation featuring exclusive and rare tracks from the label's roster and friends.